Piano tuner

General note: Title and date provided by Bettye Lane.

Piano tuner

General note: Title and date provided by Bettye Lane.

2 nocturnes pour le piano: op. 46

par Léopoldine Blahetka.

Franz Liszt’s Piano Sonata in B Minor: Precedents for an Analytical Evolution

Franz Liszt has all too often been discarded as the virtuosic showman, despite the fact that his several of works have often gained great praise and attracted scholarly engagement. However, one also finds striking development of formal design and tonal harmony in many of the works for his principal composition medium, the piano. This paper seeks to explore the practical application of James A. Hepokoski and Warren Darcy’s 'Sonata Theory' upon Liszt’s magnum opus for the instrument, the Sonata in B Minor.

I shall first consider the historical analyses placed upon the work that deal with structural design, as it pertains to the paradigm of Classical sonata-form. Previous research reveals two main theoretical camps; those in favour of a multi-movement analysis (with conflicting hypotheses therein) and those in favour of a single movement sonata-form. An understanding of these historical conceptions of the piece allows one to then highlight areas of conflict and offer a new solution.

Finally, I shall use Sonata Theory to survey the Sonata in B Minor’s landscape in a new light. The title ‘Sonata’ has clear generic implications, many of which are met by Liszt; 'Sonata Theory' provides a model with which to outline the compositional deformations employed by the composer and the implications of this practice. In particular, I offer new perspectives on the validity of the double-function form, insight into the rhetorical layout of a rotational discourse, and propose a nuanced analysis befitting of this striking work.

Seeing How it Sounds: Observation, Imitation and Improved Learning in Piano Playing

Research in various fields has shown that students benefit from teacher action demonstrations during instruction, establishing the need to better understand the effectiveness of different demonstration types across student proficiency levels. This study centres upon a piano learning and teaching environment in which beginners and intermediate piano students (N=48) learning to perform a specific type of staccato were submitted to three different (group exclusive) teaching conditions: audio-only demonstration of the musical task; observation of the teacher's action demonstration followed by student imitation (blockedobservation); and observation of the teacher's action demonstration whilst alternating imitation of the task with the teacher's performance (interleaved-observation). Learning was measured in relation to students' range of wrist amplitude (RWA) and ratio of sound and inter-sound duration (SIDR) before, during and after training. Observation and imitation of the teacher’s action demonstrations had a beneficial effect on students' staccato knowledge retention at different times after training: students submitted to interleaved-observation presented significantly shorter note duration and larger wrist rotation, and as such, were more proficient at the learned technique in each of the lesson and retention tests than students in the other learning conditions. There were no significant differences in performance or retention for students of different proficiency levels. These findings have relevant implications for instrumental music pedagogy and other contexts where embodied action is an essential aspect of the learning process.

A união entre técnica e musicalidade na metodologia de ensino do piano da professora Isabelle Vengerova

GOMES FILHO, Tarcísio. A união entre técnica e musicalidade na metodologia de ensino do piano da professora Isabelle Vengerova. In: Encontro Regional da ABEM Nordeste, 7., João Pessoa, PB, 2008. Anais ... João Pessoa, PB, 2008.

Brechemin Piano Series February 14, 2013

Concert Program

Brechemin Piano Series March 14, 2013

Concert Program

Brechemin Piano Series November 8, 2012

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Brechemin Piano Series April 11, 2013

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Brechemin Piano Series May 9, 2013

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Dimensionamento dell'azionamento elettrico di un piano vibrante

Questo elaborato riguarda il dimensionamento di un motore brushless lineare utilizzato in un piano vibrante per l’alimentazione di fiale, flaconi e carpule in macchine per il packaging farmaceutico: in particolare con questo piano vibrante si alimentano macchine astucciatrici e termoformatrici. Con packaging farmaceutico si intente tutto ciò che comporta il confezionamento di prodotti legati al mercato farmaceutico, ma macchinari simili soddisfano anche il mercato per il confezionamento di prodotti alimentari e cosmetici. Il piano vibrante descritto nella trattazione, svolge sia la funzione di alimentazione del prodotto nella macchina, sia quella di buffer. La tesi è stata svolta all’interno di Marchesini Group S.p.a., gruppo industriale fondato nel 1974 che vanta una posizione di livello mondiale nel settore delle macchine automatiche: in particolare si occupa dell’automazione per packaging nel settore farmaceutico, cosmetico e alimentare. Avendo dovuto fare un intervento di sostituzione di un motore su un gruppo già in funzione, nella riprogettazione dei particolari si è cercato di apportare il minor numero di modifiche possibile, per minimizzare il numero di pezzi da sostituire qualora un motore in funzione si rompa o venga danneggiato. Questo studio mi ha dato la possibilità di approfondire diversi aspetti della progettazione meccanica: in particolare ho avuto la possibilità di utilizzare Creo Parametric, il programma di disegno 3D usato in Marchesini, e quindi approfondire molteplici aspetti e regole del disegno e della messa in tavola. Insieme a questo, oltre a studiare le diverse tipologie di motori lineari ho potuto approfondire i metodi di scelta di un motore lineare, consultando anche i fornitori.

Brechemin Piano Series November 14, 2013

Concert Program

Brechemin Piano Series December 5, 2013

Concert Program